*스페인 카르타헤나, 워터프론트 컬쳐센터 [ Selgas Cano ] Auditorium in Cartagena

역사 그리고 위대한 자연문화 유산이 현재 시간속에 공존하는 항구도시 스페인, 카르타헤나, 여기에 새로운 컬처앵커가 자리 잡는다. 새롭게 정비한 1킬로미터에 달하는 워터프론트 그리고 약 200미터에 달하는 컬쳐센터는 바다와 평행을 이루며 리니어한 큐빅볼륨으로 구축된다. 단순화된 건축적 외형은 풍부한 자연환경과 문화 유산을 현대공간 속에 투영하는 또다른 방법으로 비물질적 특성을 나타내는 반투명한 폴리카보네이트로 마감된다. 주간에는 반물질적 특성이 외부환경을 흡수, 바다의 드라마틱한 시퀀스를 흡수, 지역의 자연문화를 흡수하는 매개체로 사용된다. 여기에 야간에는 내부로 부터 발현되는 조명으로 컬쳐센터를 거대한 어반등대로 변모시킨다. 컬쳐센터의 단순하며 절제된 미학적 건축어휘는 주변환경을 흡수하여 내부 프로그램으로 발산, 새로운 앵커가 된다. 여기에 강렬한 오렌지 컬러의 배색된 각 디자인 요소들은 내외부 공간을 거침없이 흘러가며 단조로운 공간; 모노스페이스에 활기찬 에너지를 선사한다.

reviewed by SJ

El “B” is this long construction, a body, that feeds on the heritage -the continuity- of a site’s treatment: THE Cartagena harbour, which is nothing but a harbour in Cartagena, borderline of the city from the sea. Everything here belongs to it, belongs to the port, any port we should say: the immaculate straightness of the pier edge (straight), the invariably calm sea (flat), the artificially horizontal plane of the dock (flat), the sky as the variable background for this plane (plane on a plane?), all based on an artifice to represent the simplest -and by virtue of its simplicity, the most natural, the most immensely artificial- plane that equates to the most natural.

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Architects: Selgas Cano
Location: Cartagena, Spain
Project Architect: Jose Selgas, Lucía Cano
Project Team: Lara Resco, José de Villar, José Jaraiz, Lorena del Río, Blas Antón, Miguel San Millán, Carlos Chacón, Julián Fernandez, Beatriz Quintana, Jaehoon Yook, Jeongwoo Choi, Laura Culiañez, Bárbara Bardín
Architectural Assistant: Antonio Mármol, Joaquín Cárceles, Rául Jiménez
Completion: 2011
Site Area: 5,628 sqm
Total Square Footage: 18,500 sqm
Budget: 34.5 Euro
Photographs: Iwan Baan

The Alfonso XII dock is 1,000 metres long, exactly a kilometre, where we can assume that we are at the end. A 20 metre wide strip runs the full length, parallel to the edge, which is respected by the buildings. A very pleasant walk can be designed for the city along this strip, a daily procession following the immutable edge. In fact, this promenade is what we encourage; it is what we insert in the building, in a dimensional continuum that seems to dig out an artificial beach, but is actually a continuity of history, because the old El Batel beach was right here, on this very spot. The harbour is artificial, not the beach.

This reclaimed beach-ramp gradually submerges us below the waterline, with the pier’s horizontal line as a constant reference. At this point we cease to belong to the outside world and start to belong to ourselves, ourselves in movement, ourselves strolling, working on the 210 metre scale reserved site for ourselves. We have worked on the contrast with the outer facade produced by the cut at ground level, and we continue to make use of the dictatorship of the dock, but precisely in opposition to it.

We refuse include the harbour’s beautiful orthogonal monotony; we exclude the hardness of the port from the interior, and instead, we seek something that is completely the opposite: translucent, delicate, light, aquatic; something that has to do with what Luigi Nono defined as “a space for water music”.

Each component and detail of this project is another project in itself, but, as each project, acting in obedience to its surroundings, all belong to both a whole, not sought, but deduced, which is what shapes the character of El “B”.

All the material, both aluminium and plastic, is manufactured from a single extruded section, varied in placement and colour to give the appearance of multiple pieces. These pieces are all set parallel to the pier edge to underscore the idea of horizontality and achieve an even longer rectangle than it already is, in this case extruded like a “churro” (wrinkled doughnut), only on its immediate scale: overall, it seems to be the result of an accumulation of different components, stacked neatly on the pier. The memory of a former use.

Outwardly and also inwardly, this is an extremely false complex, one set as the antagonist of the other, like people who seem to be very quiet but are actually paralyzed by the continuous movement of their central nervous system. Their antagonism is clearly evident in the coexistence of the upper and the lower floors, a perfect example of anacoluthon: there is no agreement between them. Their only connection is that both thrive on the harbour, because, we insist, the entire project thrives on the idea and the memory of a harbour; what happens here now and what used to happen here.

from  archdaily